Madrid, Dec 14 (EFE) .- After the “bad leg” of the dancer Alba Heredia who has suffered a domestic accident that prevents her from being at the Royal Theater, Eduardo Guerrero lands in “the temple of art” where he will show his prodigious footwork and its innate elegance in the functions scheduled for December 16 and 17.
“It is a dream to step on the tables of the temple of art, a real luxury,” Eduardo Guerrero explained to Efe this Monday, who considers himself “lucky” to be able to close this “terrible” year in such a special and significant way, a sign that everything is returning to “normal”.
For the third time, Guerrero (Cádiz, 1983) will be at the Teatro Real with a show, “Onírico”, in which art, the avant-garde and flamenco prevail. “My intention is to have a good time and that we all enjoy art,” he added.
This bailaor replaces Alba Heredia, (Granada 1995), a young bailaora with two decades of experience, who has had the “bad leg” of suffering a sprain that prevents her from presenting her show “AlbaiLando”.
With a deep knowledge of the essence of flamenco, Guerrero is in a good time, he has a current aesthetic, talent and physique, as well as charisma and beautiful finishes that move. “My dance is transformation, it is claw, it is dancing with guts”, said this obsessed bailaor “to enjoy and make people enjoy, but above all to share flamenco”.
He has a marvelous technique and powerful footwork, perfect turns and he never loses elegance and style, which is his hallmark, but when he dances he thinks of “the greats” like Vicente Escudero, Antonio Gades, Antonio el Bailarin or Mario Maya.
“When I dance I like my mind to fly and every time I step on a board I can enjoy a new trip, that’s the best,” explained Guerrero, who has been awarded the “Desplante Award of the Union Mines Festival, 2013 “.
Eduardo Guerrero is aware that it has been difficult to “come back” in 2020 with many canceled performances, many postponed bowling. He dreamed of a good year full of performances, but the pandemic changed all his plans, but his strength prevented him from being carried away by melancholy.
“At the beginning of the pandemic I thought it was necessary to rest, that it was a wake-up call that brought us down to earth, but then I went through complex moments, of very great fright that frightened,” said the bailaor, who now feels “lucky “and” proud “that the culture” still stands. ”
His own show “Debajo de los pies” -which will premiere next February at the Festival de Jerez-, is the one that has made him regain his illusion and work. These are difficult moments, “but I always say great crises, great opportunities.”
He has lamented that flamenco is valued outside of Spain and here it is not given so much importance. “The country should get more involved with flamenco, with dance,” according to the bailaor, who believes that politicians should give visibility and continue to lovingly support flamenco and culture in general.
She started dancing when she was only six years old at Carmen Guerrero’s school, then she developed her talent with teachers of the stature of Mario Maya, Antonio Canales, Manolo Marín, among others, and expanded her knowledge of contemporary and classical dance.
Starting in 2002, he began working with great artists from the national scene Aida Gómez, Eva La Yerbabuena, Rocío Molina, the National Ballet of Spain, Javier Latorre and Rafael Aguilar.
It was in 2011 when with his own choreography “Mayo” he won the first Prize in the Professional Conservatories Choreographic Contest and it is from then on when he began his solo career, creating his own universe that he will show for two days at the Royal Theater. EFE
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